After the box office revenue of the first Resident Evil movie exceeded $1 billion, the production company Constantine Films is preparing to restart its largest film series.But where the original series differs greatly from the source material, the new director, Johannes Roberts (Johannes Roberts), known for his work Descend 47 meters with Strangers: Night Prey – Want to do the right thing with his new movie through Capcom’s original game, Resident Evil: Welcome to Raccoon CityWe interviewed Roberts and asked what it felt like to bring the first two games to life.
Game informant: What is your relationship with the Resident Evil series?
Johannes Roberts: I entered the gaming franchise as an observer, not a player. This game is really a big deal. This is really the first time you have something as scary as a movie.I have always been a horrible lunatic [a] Horror movie nuts. It was so interesting to see this thing that was totally in love with what I was in love with.I used to just watch others play [laughs]. I am just addicted to it. Those skills, the horror skills they used, are really terrifying.
Give: The reason I asked is that in those initial games, the camera angles were created due to technical limitations, but they were very cinematic. You have directed many horror films at this point. Do you think “Resident Evil” has any special influence on your movie?
JR: In my career, two things have scared me. One, it’s all about going through the door.I made a movie called OutsideSuch things as “what is on the other side of the door”, when you open this door, you don’t know what you will enter. [Resident Evil games] It’s really a bit heavy-obviously through technical limitations, because everything has to be loaded into the next beat. But it does create suspense there.And then there is this thing that we definitely use in the movie, but I must use it a lot anyway, does this character leave the screen without following them? [laughs]. This is really a very strange thing. When I started to restart this movie, I obviously went back to play those games, which is so weird-now we are in a world where you are a character, you move among characters and other things. With this weird thing, you just disappear from the screen, and you really don’t know what is about to happen, it is such a strange and actually very scary thing.
Give: Can you talk about the collaboration between cinematographer Maxime Alexandre and yourself in shooting shots that are both a tribute to the game and the adaptation of them into live-action works?
JR: What we did, what we learned a lot from the game, is very important in terms of location and appearance. I like the world of John Carpenter very much. It is very retro. So, there are many zoom lenses, many long lenses. It really has a 70s feel.I often use similar movies Parallax view, Invasion of body predators, Don’t watch now, gem. I like photography in movies gem. We will use the cornerstones of many 70s movies—— Exorcist And stuff-and use it as the language I work in the gaming franchise.
Give: I can say with certainty that I haven’t heard anyone mention it Don’t watch now When talking about their video game adaptation.
JR: [laughs] Yes Yes. We are now just finishing this stage of the movie, we are entering all the color time.It’s really interesting to present these really vibrant red ideas in a Dario Argento movie or similar. Don’t watch now, Which has the kind of red theme running through it.I am deeply influenced by the 70s movies, especially in this movie Because in some of the themes we use, it feels like a 70s conspiracy thriller.
Give: Especially in the first few Resident Evil games, I think people have forgotten the messages of ecological horror and abuse of power.They are weird political games They can be stupid. When you write it, especially considering our position in 2021, have you considered these topics?
JR: We all have very different movie tastes, but we have some key things that brought us together.One of the most important things is love [the] The conspiracy thriller of the 1970s is indeed the core of this movie.A few great movies have been made [around] time. Chernobyl, TV series, I remember watching it, all of us came to the office, we were just talking about how incredibly good it was-telling stories, topics, covering up. How terrible it is, because it is so normal, and it is just a terrible thing that happens to patients with radiation sickness. So, we will talk a lot about this cover-up and all the topics of Resident Evil.We will watch movies like this Dark water, Macrufallo’s movies, look at what happened in the United States, such as the Flint Water Crisis and so on.
Give: How does it feel to adapt some of these locations into live-action movies?
I think what was not really done before the in-game adaptation was to treat the source material with respect like a novel. That is my real guiding principle. You know, we are telling our own story, but let us treat the world with true respect and work hard in the legends, locations and worlds, and games of Resident Evil. So we went to Capcom, and we got blueprints for mansions and police stations—just like architectural blueprints. Therefore, the construction of these things is the same as the game.It’s incredible to walk around in these scenes, “I’m in the fucking mansion now. I’m actually walking around in this game I’ve played for 25 years. [laughs]. “That’s so cool. Then enjoy the shooting sequence and do it for the first time [film], Just like the iconic turning zombie in the first game, seeing the zombie for the first time. You know, this is like an important moment in computer games that has never happened before. Putting it on the screen was just—I remember a producer came up to me and told me they were shuddering because it was so cool.
Give: What do you think was the most challenging part of making this movie?
Do you know what? The biggest challenge, I think what I fear most when doing this is the zombie aspect-I didn’t really realize this until we were besieging the police station. The film was heavily influenced by the 13th District Commando and used it extensively as a touchstone for telling narratives. We conducted a large-scale siege at the police station. Suddenly, I am standing there, zombies are coming, and suddenly you realize that you have the weight of 60 years of zombie movies on your body. You have to get this-yes, you have to bring something new, and you have to be afraid again. When people see zombies-you know, they think they are scary, and then they find that they are no longer scary, they have become part of the comedy. They have become everything. It is really difficult to be able to create a story with a dramatic theme and a certain foundation. I mean, it is very influenced by John Carpenter, so it has its own world. But in that world, you need to be believable in the reality of that world, to scare people again, to make them truly afraid of the zombies we released and the entire fleet of creatures. So, it is very scary. I remember that day very clearly. I remember the feeling at the time, “Oh, my goodness, if I get this done, I’m really in trouble. People will kill me.” That weight is huge. This is huge.
Resident Evil: Welcome to Raccoon City Now in theater